Burlesque Connotations in the Pictorial Language in Bronzino's Poetry
Agnolo di Cosimo, better known as Bronzino, was not only one of the most celebrated painters at the court of Cosimo I in Florence; he was also a dazzling poet, as Vasari reminds us in his Vite. Bronzino was the author of a Petrarchan canzoniere, as well as of burlesque poems. In his sonetti caudati,...
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| Format: | Electronic Article |
| Language: | English |
| Check availability: | HBZ Gateway |
| Journals Online & Print: | Drawer...
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| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Published: |
Iter Press
[2017]
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| In: |
Renaissance and reformation
Year: 2017, Volume: 40, Issue: 1, Pages: 211-238 |
| RelBib Classification: | CD Christianity and Culture KAG Church history 1500-1648; Reformation; humanism; Renaissance KBJ Italy |
| Online Access: |
Volltext (Verlag) |
| Summary: | Agnolo di Cosimo, better known as Bronzino, was not only one of the most celebrated painters at the court of Cosimo I in Florence; he was also a dazzling poet, as Vasari reminds us in his Vite. Bronzino was the author of a Petrarchan canzoniere, as well as of burlesque poems. In his sonetti caudati, and in his paradoxical capitoli, burlesque languagecharacterized by its erotic puns and double meaningsinteracts with the pictorial field in a strikingly original way. This interaction hinges on Bronzino's employment of pictorial discourse: from simple, well-known burlesque symbols and metaphorsthe paint brush, colours, bells, or the shapes of mosquitoes, carrots, and cheeseto the subtler use of burlesque topoi to face more serious and complex aesthetic issues. Agnolo Di Cosimo, plus connu sous le nom de Bronzino, fut non seulement l'un des peintres les plus célébrés à la cour de Côme Ier de Florence, mais aussi un poète éblouissant, comme le rappelle Vasari dans ses Vies. Bronzino est l'auteur d'un chansonnier pétrarquiste, ainsi que de poésie burlesque. Dans ses « sonetti caudati », et dans ses paradoxaux « capitoli », le langage burlesque caractérisé par des jeux de mots érotiques et des jeux de doubles ententes interagit avec la dimension picturale de manière remarquablement originale. Cette interaction repose sur l'emploi que fait Bronzino du discours pictural, depuis les symboles et les métaphores les plus simples et fréquents du vocabulaire burlesque tels que les pinceaux, les couleurs, les cloches, les dessins de moustiques, carottes ou fromages jusqu'au travail, plus subtil, de topoi burlesques, lequel engage des enjeux esthétiques plus sérieux et complexes. |
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| ISSN: | 2293-7374 |
| Contains: | Enthalten in: Renaissance and reformation
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